Old Engraving of Chesterfield House, Westminster in London, Uk, ca.1770

Description: Antique print titled 'North Front of Foremark (..)'. Old engraving of Foremarke Hall, a Georgian-Palladian country house and manor house. This print originates from ...

Description: Antique print titled 'East Front of the Horse Guards at Whitehall'. Architectural elevation of the Horse Guards at Whitehall....

Antique print titled 'Section of the Mansion House'. Old engraving of the Mansion House, London. This print originates from 'Vitruvius Britannicus...

Antique print titled 'North Front of Foremark (..)'. Old engraving of Foremarke Hall, a Georgian-Palladian country house and manor house. This print originates from 'Vitruvius Britannicus...

Antique print titled 'Altra Finestra del secondo piano (..)'. Old print of a second floor window of Palazzo Chigi, Rome. This print originates from 'Studio d'architettura civile ...

Antique print titled 'Principal Front of Hagley'. Main facade of Hagley Hall, Worcestershire. Hagley Hall is a Grade I listed 18th-century house in Hagley, Worcestershire, the ho...

After Vander Smissen 'Mrs Sarah Porter, Queen of the Touters at Tunbridge Wells', a mezzotint, engraved by William Pether circa 1770, glazed in ebonised, ...

This original wood engraving is titled “The Restaurant of the House of Representatives, Washington, DC.” It was published as a double-page image, in the August 12, 1893 issue of the famous 19th century newspaper Harper’s Weekly. The print was illustrated by Charles Stanley Reinhardt. The House Restaurant, a unique part of life in the Capitol, has been in the same location since the 1857 Capitol Expansion. Congressional members’ busy work schedule made the availability of food on site a necessity. But the restaurant also served as an informal meeting spot for members to continue conversations and deal making. This 1893 print illustrates the convivial atmosphere. Details including elegantly dressed tables...

This original wood engraving is titled “The Lobby of the House of Representatives at Washington During the Passage of the Civil Rights Bill.” ...

ST/556/1 - Old map of Corsica isle, surveyed by Captain Hell, of the French Royal Navy in 1824, engraved and published on 1874, with additions and corre...

ST/520 - Old rare Italian map of England, dated 1826-1827 - by Girolamo Tasso, editor in Venise, for the atlas of M.r Le-Sage.

Presented here is an 1876 engraving of John B. Bachelder and James Walker’s Gettysburg. The Repulse of Longstreet’s Assault. The engraved scene depicts the decisive battle on the final day of the Battle of Gettysburg. Researched by the photographer and topographer John B. Bachelder and painted by James Walker, the original painting was created in 1870. This detailed engraving was done by H. B. Hall Jr. and published by James Drummond Ball. Otherwise called Pickett’s Charge, the battle occurred on July 3, 1863. Pickett’s corp commander, Lieutenant General James Longstreet was placed in charge of the attack despite his hesitations. Longstreet’s central role led to the title of the work, Repulse of Longstreet’s Assault. In an attempt to gain control of an important supply route, nine Confederate brigades charged across three-quarters of a mile of open ground against cannon fire to take Cemetery Ridge from the defending Union Army. Despite their overwhelming numbers, the Confederate forces were repelled with considerable casualties marking not only a decisive victory for the Union, but also the beginning of the slow defeat of Lee’s Army. The furthest the charging forces advanced before being repulsed would forever be known as the “High Water Mark of the Confederacy.” The Confederate army never recovered from the losses at Gettysburg and it effectively ended Lee’s campaign into Pennsylvania. The engraving gives the perspective from the Union rear, one that encompasses most of the battlefield, from Big Round Top on the left to the northern reaches of Cemetery Ridge on the right. The Confederate lines at Seminary Ridge are in the far distance, partially obscured by bursting shells. The image centers on the main Confederate assault, in the vicinity of what today are known as "The Copse" and "The Bloody Angle." The composition has elemen...